Michael Gissing
Forum Replies Created
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If you are using FCP’s scrolling text, you might want to try the Boris Scrolling text which for me looks smoother. Small fonts are a problem and if you are doing a credit roll for TV, small fonts are hard to read anyway.
The speed of the scrolling makes a difference too. Try a longer or shorter scroll to see if it is just a bad combination of font size, style and speed. Some people suggest a slight blur can help.
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Sorry for the pedantry but the correct spelling is Moire
https://en.wikipedia.org/wiki/Moir%C3%A9_pattern
unless the pattern looks like a sea creature…
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Play the tape, check the viewfinder and it should display the flavour of HDV.
I think you need a capture card to go into a ProRes sequence. Firewire will only bring in the HDV mpeg so the sequence must match that for capture.
If you have a capture card then use the HD SDI output. Firewire can be used for machine control.
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Editrace only deals with EDLs of a single track at a time.
I usually ask for a video EDL of the recut and compare that with the old video EDL. If you have spread the video over 8 layers, is the bottom layer the main video content? If so then use that layer for the EDL.
Editrace EDLs show blocks moved so it will allow the sound editor to work out the change of sync. If you were making changes to the audio, rather than just block changes then I would suggest making a new OMFi and PAYING the sound editor to compare the two manually with your comprehensive list of changes that you made.
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If you forget, you can just hit cancel on the opening project and then select New.
No need to wait for it to open.
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Timecode actually deals with sub frame. In PAL land there are 80 data bits per frame. Not sure about NTSC.
If you are timing something from the audio, then Jeremy’s idea of looking at the sound track in a separate program would be far more accurate. My dSP DAWs allow me to step in samples so a PAL frame has 2000 samples. This is much finer measurement than milliseconds which are 40 per PAL frame or 20 per field.
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Yes, nested sequences will give you grief when recaptured unless you un-nest before Media Managing.
Audio should be exported as an OMFi. Your sound post people will not like rendered aifs. Talk to them about handles as well.
No idea why your audio has gone out of sync. Is there an indication in the timeline that audio is out or it just looks out on your external monitor. Have you checked the audio delay settings for your external monitor?
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There is always latency in audio processing. This will cause a small shift in your output. Sophisticated audio DAWs usually auto correct for processing delay, but FCP is a picture edit tool.
If the sound is phasing then the shift is sub frame. By the time a frame error is apparent, you will not hear phasing but a distinct bounce. For lip sync a tiny sub frame delay is not a problem.
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I work with editors who edit in DV and then I recapture in HD uncompressed with a Decklink card. I use Media Manager and I also have the DV timeline open (but media offline) so I can check tricky issues like time remapping.
The other trick is I get a QT file in DV codec from the offline and import it onto the top video track of the HD online sequence. It makes a nice small picture in picture so I can check sync and issues that might have gone astray in Media Manager.
All that said, I have found Media Manager to be the best way scale up the timeline to the HD codec you need for online.
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Send files via OMF export to an audio post suite.